In Japan, is it possible that the new doesn't drive out the old, but rather incorporates it, with the old serving as a foundation for the new to develop?
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| A panoramic view of Tokyo, Japan. (Source: Getty Images) |
One early summer morning, while strolling down a gardened street corner in Tokyo, I (Huu Ngoc) saw a group of joggers. They were shouting in rhythm as they ran; their shouts were sharp and powerful. A little later, passing by a residential area, I heard a female singer's voice, soft and melancholic, coming from a cassette player – a song I'd heard in Vietnam in the early 1940s, like "Chinese Night" (Shina no yoru).
One evening, I sat alone drinking tea and watching television in my Tokyo hotel room. The tea was in a pretty paper packet; pouring boiling water over it resulted in a pale green, clear tea that felt serene when sipped. But when I looked at the small screen, that feeling vanished: in the martial arts film, there was a scene of beheading, blood dripping slowly from the severed head, sending shivers down my spine.
The scenes of daily life depicted so vividly – as well as many other cultural and artistic phenomena in Japan – gave me a striking impression of stark contrast and opposition. Of course, in the identity of an individual as well as a nation, contrasting and opposing elements are normal.
But it seems no nation is quite like the Japanese: in their character, contrasting and opposing elements are clearly, sharply, and "fiercely" displayed. So, is "fierceness" or delicate grace the essence of Japanese culture? The writer Mishima extols the tradition of fierce masculinity, while the writer Kawabata seeks the essence of national culture in delicate, feminine art.
These two elements, along with many others, continue to blend together to create a harmonious Japanese culture, marked by the common characteristic of "inner grace rather than outward splendor." According to the philosopher and critic Motoori Norinaga (1730-1801), Japanese culture is characterized by "femininity," most notably during the Heian period; "this femininity is expressed through practical, unsystematic thinking," in contrast to Chinese thinking.
Japan's material and spiritual culture is a testament to human achievement: over 125 million people, concentrated on impoverished, remote islands with only 60,000 usable square kilometers, built a superpower from a poor, backward feudal state, rising to the forefront of the world .
Many theories explain "Japanese uniqueness" through economic , social, geographical, historical, racial, and cultural factors. However, in the humanities, it is difficult to assert absolute truth, and subjective reasoning is unavoidable.
There are theories based on geography that are considered decisive factors: the archipelago's remote location from the mainland made Japan less vulnerable to foreign invasion, favorable for the formation of a homogeneous nation, but also hindered the gradual influx of outside cultural influences. The temperate climate was more favorable for human "civilization" than in places that were too cold or too hot.
At the same time, harsh climates (volcanoes, earthquakes, tsunamis, typhoons, floods, etc.) and limited land for rice cultivation instilled in the community's subconscious a "fierce" and unsafe impressions. Therefore, they became accustomed to living simply, austerely, and valuing the collective from family and village to nation for survival. On the other hand, majestic or beautiful nature integrated into daily life (housing, festivals, flower arranging, bonsai, tea ceremony, etc.) nurtured the aesthetics (architecture, painting, etc.) and animistic beliefs of the Japanese people (Shintoism – the Emperor considers them descendants of the Sun God).
Some theories suggest that the secret to Japan's success and cultural key lies within its traditional ideology. Beyond Shintoism, the indigenous belief system that underpins deep affection for nature, the dead, the Emperor, family, villages, and the nation, the importation of major Buddhist and Confucian ideologies from China (Buddhist culture), combined with Shintoism, has contributed to shaping the Japanese character. Architecture, painting, and lifestyle remain profoundly influenced by Buddhism to this day.
Zen, in particular, primarily focused on meditation and attaining Buddhahood; it established itself in the 14th-16th centuries as a crucial element of warrior culture: self-cultivation, discipline, connection with nature, and refined arts (Zen gardens, tea ceremonies, etc.). The Pure Land school of Buddhism, which recited the name of Amitabha Buddha, was more popular among the people. Japanese Confucianism extremeally emphasized the concept of "loyalty" and "righteousness" very strictly; it became the foundation of feudal society and supported the ideal of "Bushido" (the way of the warrior).
One theory suggests that Japan's success in "Westernization" and its recovery from the losses of World War II stemmed from its ability to transform its traditional ideological and religious foundations, particularly Confucianism (the spirit of community, the concept of "harmony" in the hierarchical order of Heaven, Earth, and Man, and in human society). Modernization during the Meiji era (1868 – opening the doors and the influx of Western culture) was implemented within a tightly controlled command economy, built upon feudal traditions.
Today, Japan has a culture that is increasingly characterized by industrial and technological influences, Western "consumer society" characteristics, and internationalization. In daily life, the Japanese have successfully reconciled the influence of Western culture with their traditions. A common example is the businessperson who spends their days surrounded by machines and the electronic pace of Tokyo, only to return in their kimonos and observe traditional customs in the evening.
In Japan, is it possible that the new doesn't drive out the old, but rather incorporates it, with the old serving as a foundation for the new to develop?
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